当你的国家被敌人占领时，你将怎样？奋勇的反抗？顽强的生活？继续事业？在爱情中苦恼与快乐？特吕弗的《最后一班地铁》就讲述了二战期间，德国占领区内的法国人的日常生活，看完电影，我才明白了在那段时期的日常生活一样是复杂和多样的，你无法用一个“屈辱”来概括，因为其中也有抗争，有欢笑，有幸福，有趣味，在敌占区的生活没有改变生活本身的多样与复杂，但是，敌占区的背景又为它抹上了一丝平常不见的顽强与坚韧。
影片并没有太跌宕起伏的情节，故事线索很简单，吕卡斯和他的妻子本来经营着一座还算不错的剧院，但是他的犹太人身份使他不得不藏身于剧院的地窖之下指导演出，而他美丽的妻子玛丽翁则走向前台，维持着剧院的运营。在排练一出新的话剧时，具有反抗精神的演员贝尔纳走入其中。一方面玛丽翁要掩护他的丈夫，另一方面她又要牵扯于与贝尔纳的爱中，直到战争结束前夕，她紧握两个男人的手，完美谢幕。尽管有犹太人深藏地窖，躲避纳粹的情节，但是影片中处理的没有想象中那么惊心动魄
The Last Metro was the most crowd-pleasing film of François Truffaut’s latter career, sweeping an armload of prizes at France’s Oscar equivalent, the César Awards. It was also as personal a film as he had ever made, and that denotes the film’s distinction: it is a private memoir graced with popular appeal. In it Truffaut conjures his memories of the German occupation of France, culling from his schoolboy years and his lifelong infatuation with the creative arts. Although the subject of the occupation had certainly been broached before in French film, it was still not a popular one at the time, with culturewide shame over collaboration lingering. But Truffaut, departing from the paranoid melodrama of Henri-Georges Clouzot’s 1943 Le corbeau and the psychological examination of Louis Malle’s 1974 Lacombe, Lucien—to name two well-known examples—took a guiltless approach to the
深刻！《最后一班地铁》影评
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